Visual Explorations and Embodiment
Constructivist Artist/Instructor, Ina Puchala, and Movement Installation Artist, Cristina Lella lead this innovative and highly participatory workshop that will nurture new modes of expression and focus on how art is from and of the body. Connections will be drawn to participants’ current or planned projects and these will be developed as expressions of the body, of gesture and of movement.
The 2-day workshop is scheduled for October 13th and 14th. Starts at 6pm on Friday evening. NRCC is asking for a $40 donation towards the production and presentation of this professional arts workshop. We will be meeting at:
Suite 14, 176 Lakeshore Drive, North Bay ON P1A 2A8
Can’t begin to articulate how much I welcome the daily discipline of being in studio again. Unlike last year , a dry season, one of resistance whereupon the bravest of pictoral passages survived, this time round the harsh editor has been appeased and the flow revived. I have witnessed some really ugly looking passages but in those I have come upon a significant breakthrough. I suppose the work will speak for itself when it is all done.
How can the economic market not affect the artist?
Last to feel the upswing and first to feel the fall.
Golly, I have to impose some austerity measures of my own.
Some work got made.
Other work failed to resolve and I razed the surface, yet again.
A gripping read: Michal Glowinski’s ‘The Black Seasons’
and ‘his motif of the liminal space between memory and forgetting’
…I am gluing and building cradles
Drawing lines in graphite.
and sometimes I paint. And I fret.
Bonnie ‘Prince’ Billy sounds real fine right now.
Abstract Painter | Toronto| Canada
Hours spent hovering over a painting; once tender and nurturing strokes turn to movements of apprehension and fear. The surface has become a no man’s land where my direction is lost.
At this stage, paint becomes infuriating like a philandering man. The surface seems to unravel before the eye. It and I are at a standstill. How to proceed? Naturally, I move on to one of the dozen or so surfaces on the go, carrying forward something of the predecessor.
What goes on in my mind when engaged in painting?
That’s a dangerous question.
In the front end, I’m focused on the aesthetic and technical aspects. In the back end, it’s a dense forest. The effects of globalization, the quality of food and the resultant crop in life expectancy for the upcoming generation of children, the razor’s edge of hope and despair, just to name some.
The complexity of thought and inner ramblings imbue the body of the paint. James Elkins, in What Painting Is, describes this transference best: paint becomes ‘a fine tuned antenna, reacting to every unnoticed movement of the painter’s hand, fixing the faintest shadow of a thought in colour and texture.’
This is paint as liquid thought.
The fool has resurfaced; a mischievous character who taxes me greatly but never fails to expose a reality stripped of all illusion. Concurrent to a cycle of brilliant mistakes, I was revisiting the acrylic medium. Seeking respite from the impasto of oil, I wanted something liquid and transparent, something immediate – a lightness of being. A switch in medium demands a shift in sensibility and attunement.
Process driven, I produced several interesting pieces serendipitously unveiling ‘a fool’s paradise’. Breakthrough!